Högt och lågt i litteraturen

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Essä av Rasmus Landström

Sedan den populärkulturella vändningen på 1990-talet har diskussionen om högt och lågt varit märkligt frånvarande. Idag sägs det ofta att gränserna har blivit såpass sammanblandade, eller rentav upplösta, att begreppen förlorat sin mening. På kultursidorna analyseras numera deckare seriöst, uppburna kritiker hyllar ungdomsserier som ”Skam” och tuggummipop kan beskrivas som ”mästerlig”. Ytterst få idag hävdar att populärkultur inte bör tas på allvar.

 

Ändå upplever jag ofta att det är något som skaver. Att föreställningarna om en hög- och en lågkultur finns där, som en slags subtil underström, i mycket kritik. Låt mig ta två ganska olika exempel. Det första kommer från Nobelpriset i år, då kultursidorna inför utdelningen tippade vilka som kunde få det och deklarerade vilka som inte förtjänade det. I Aftonbladet svarade kritikern Pia Bergström på den senare frågan Joyce Carol Oates med motiveringen ”För att hon ofta skriver för lättrinnande och melodramatiskt”. Om man skulle översätta påståendet till klarspråk betyder ”för lättrinnande” i sammanhanget: ”hon är för tillgänglig för allmänheten”. Och att ”melodramatiskt” används som ett skällsord är talande: under vilar en föreställning om en litteratur som är besmittad av populärkulturella former.

 

Mitt andra exempel kommer från en recension av Jenny Wrangborgs andra diktsamling i DN, skriven av Aase Berg (2/15-14). I grunden är Berg visserligen positiv till Wrangborgs poesi, men hävdar ändå att diktsamlingen använder en för ”konventionell form”. I lätt paternalistisk ton avslutar hon recensionen med att dikterna visserligen har en stor publik men att man som läsare ”måste gå vidare” till ”mer avancerad politisk poesi” efter att man läst Wrangborg. Den inte särskilt subtila undertexten i Bergs recension är att politisk poesi inte kan begagna ett vardagsspråk om den vill nå höga verkshöjder.

 

Detta är givetvis anekdotisk bevisföring. Och det ska sägas att kritik mot Oates och Wrangborg inte per automatik kan avfärdas som elitistisk. Snarare än att  komma åt enskilda kritiker är det tankemodellen bakom deras uttalanden som jag vill lyfta fram. En modell som har djupa rötter i en modernistisk tradition: bra litteratur experimenterar med formen. Den använder sig inte av populärkulturella grepp och om den är alltför lättillgänglig är det något skumt med den. Litteraturvetaren Brian McHale har hävdat att kollapsen av den hierarkiska distinktionen mellan högt och lågt, mellan en officiell högkultur och en masskultur är en av den postmoderna kulturkritikens mest omhuldade myter. Visst, hävdar McHale, har relationen mellan högt och lågt förändrats, men det handlar snarare om en omförhandling än en kollaps. Med andra ord: bara för att deckare och arbetarförfattare ägnas seriös uppmärksamhet på kultursidorna betyder det inte att kritikerna inte ser ner på dem. Detta menar jag är något som alla vi som sysslar med arbetarlitteratur borde intressera oss mer för. Inom akademien är det till exempel ett tämligen underutforskat område. Jag ska strax återkomma till det, men först en liten historielektion.

 

Masskulturens framväxt

För att förstå var idéerna om högt och lågt kommer ifrån måste vi gå tillbaka till det sena 1700-talet. Föreställningen om att det som omfattas av många står i motsättning till det sköna och det goda är visserligen en urgammal företeelse – den går att finna redan hos försokratikern Herakleitos – men kritiken av ”masskulturen” tar fart på allvar i samband med den franska revolutionen. Det är då som litteratur börjar massproduceras och med det följer en gradvis demokratisering och massutbildning. Marxisten Raymond Williams har hävdat att framväxten av en masskultur är kopplad till tre sociala tendenser: ansamlingen av människor i industristäderna, av mängden arbetare i fabrikerna och uppkomsten av en organiserad arbetarklass. I bildade sammanhang användes uttrycket masskultur oftast som en synonym till ”mobben” och de negativa associationer som förknippades med det levde kvar: enfald, flockmentalitet och låg smak. ”Massorna utgjorde med sådana utgångspunkter det ständiga hotet mot kulturen”, skriver Williams.

 

Låt oss nu spola fram bandet till 1920- och 1930-talet. Det är då kritiken av masskulturen når sin höjdpunkt. Bakgrunden var de industriella produktionsprinciperna för film och radio, men också den så kallade masspsykologin. Med namnkunniga författare som Le Bonn, Freud och Gasset växte bilden fram av en farlig pöbel i vilken individen slutade tänka och istället blev en del av en kollektiv organism. Om massan under 1800-talet förknippats med revolutionshotet från arbetarklassen representerade den under 1900-talet snarare hotet från fascismen och kommunismen. Det är också nu som Frankfurtskolan med Walter Benjamin och Adorno i spetsen börjar formulera sina kritiska diagnoser av ”kulturindustrin”. De tyckte sig se en ny sorts kultur uppstå i Hollywood där fördummande filmer producerades på löpande band. I deras historieskrivning är det dock inte folkflertalet i sig som är hotande, utan kapitalismens förmåga att vilseleda dem.

 

Redan här ser vi alltså hur kritiken av masskulturen får en dubbel botten: dels i rädslan för revolution, dels i att massproduktion av kultur fördummar och passiviserar arbetarklassen. Det är också i förhållande till detta som modernisterna positionerar sig.

 

Modernismen och masskulturen

Modernismen brukar traditionellt förstås som ett svar på den moderna världen. En splittrad värld kräver en splittrad form, var ett berömt estetiskt slagord från tiden efter första världskriget. Ur denna tanke föds en rad nya ismer, som dadaism, surrealism och expressionism, som alla försöker ge en ny bild av hur världen ter sig under 1900-talet. Litteraturvetaren Andrew Huyssen menar dock i sin bok ”After the Great Divide” (1987) att modernismen inte kan förstås om inte rädslan för masskulturen tas i beaktande. Skräcken för att smittas av den låga, folkliga kulturen var ett bärande element i allt från sekelskiftets l’art pour l’art-rörelse till efterkrigstidens abstrakta expressionism. Detta är ett tämligen annorlunda sätt att se på modernismen än det vedertagna; i Huyssens historieskrivning är dess privilegiering av experimentella former ett sätt att dribbla bort läskunniga men icke-bildade arbetare. Genom en noggrann kartläggning visar han hur inflytande från masskulturkritiker som Nietzsche och Le Bonn går att finna hos såväl T.S. Eliot som Virginia Woolf.

 

På så sätt, menar Huyssen, måste också de modernistiska föreställningarna om estetisk autonomi förstås. Att upphöja experimentet till ett självändamål blir enligt honom en metod för att avlägsna litteraturen från den sociala gemenskapen. Ett något tillspetsat påstående kanske, men det ligger något i det. Poeten Göran Palm, som gärna citerar Huyssen, har träffande beskrivit de tidiga modernisterna som ett gäng illusionister på en öde ö. ”Med tusen överraskningar i lager, men ingen att överraska”. Enligt både Palm och Huyssen var modernismens problem att den var en samling omstörtande rörelser som inte fullföljde sitt uppror på alla fronter. Den estetiska radikalismen skars av från den sociala och politiska.

 

Detta bör dock nyanseras lite, eftersom det fanns modernistiska rörelser som försökte slå broar mellan folkflertalet och den experimentella konsten. Till exempel de ryska futuristerna, de franska dadaisterna och de svenska arbetarförfattarna under 1930-talet. Dessa rörelser ägnar dock Palm och Huyssen inga närmare studier.

 

Enligt Huyssen är det först på 1960-talet som en reaktion mot masskulturkritiken tar form på allvar. Då börjar poeter och konstnärer intressera sig för populära kulturformer och sociala gemenskaper. Inom popkonsten, skriver Huyssen, ställdes serietillverkade möbler ut på museer. Med den nyenkla poesin försökte diktare göra upp med modernismens anti-sociala ideal. På kultursidorna började popband som Beatles att analyseras. Idag talar vi ofta om 1960-talets ”öppna konst”, och det kan mycket väl ses som en startpunkt för den omförhandlingsprocess mellan högt och lågt som vi befinner oss i idag. För den som vill läsa mera om detta kan jag utöver Huyssen varmt rekommendera Beata Agrells avhandling ”Romanen som forskningsresa”.

 

Arbetarlitteraturen och exemplet Maria Sandel

Hur kommer då frågan om arbetarlitteraturen in i allt detta? Själv menar jag att frågor om högt och lågt, om masskultur kontra finkultur alltid varit centrala där, men att forskare och kritiker inte uppmärksammat dem i tillräcklig utsträckning. Låt mig därför ta ett exempel från den tidiga arbetarlitteraturen. Med det vill jag visa hur finkulturella och populärkulturella former kan samspela i en och samma bok. Exemplet är hämtat från Maria Sandel, en författare som vanligtvis betraktats som ”för-modernistisk” och därför avfärdats som ointressant i historieskrivningen.

 

”Familjen Vinge” är Sandels debutroman från 1909. Det är en löst komponerad samling scener som binds ihop av en ramberättelse. Den rör sig runt familjen Vinge: morsan som sliter ont och stoppar strumpor hela kvällarna, maken som bjuder hela sitt arbetslag på pannkakor trots att familjen knappt har råd att äta själva, dottern Dina som alltid kommer hem utmattad med ulltappar i håret efter arbetet, sonen Torsten som är kär i en lösaktig ”yrhätta” etcetera. Men den här ramhandlingen är egentligen inte så viktig. Inte heller är det originaliteten i personporträtten som är styrkan hos Sandel. Hur ska vi då läsa henne?

 

När vi läser romaner idag så är vi ofta upptagna med att hitta det originella. Läser vi äldre böcker letar vi efter det som på ett litterärt plan ansågs nyskapande när boken skrevs. Detta är en modernistisk förståelse av litteratur och ofta är den relevant. Det är till exempel helt avgörande att man förstår hur nyskapande berättarmetoden, kallad stream of consciousness, var i James Joyce och Virginia Woolfs böcker. Men, när vi ska försöka begripa böcker som är skrivna ”utanför” eller i opposition till det modernistiska projektet så blir läsarten begränsande. Till exempel när man läser brukslitteratur, dvs böcker som är skrivna för att uppfylla ett praktiskt syfte. I sådana försöker författarna sällan vara originella eller skapa psykologiskt komplexa karaktärer – poängen kan istället vara att få läsaren att begrunda saker. Och Sandels böcker är i någon bemärkelse brukslitteratur. Litteraturprofessorn Beata Agrell är den forskare som i mitt tycke gjort mest för att öka förståelsen för den tidiga arbetarlitteraturen. Hon har visat att vi måste ta av oss de modernistiska glasögonen för att kunna läsa Sandel.

 

Det första Agrell menar att vi bör göra är att lägga bort ”presentismen”. Alltså, sluta leta efter nyhetsvärdet i det vi läser. Istället bör vi undersöka vilka frågor dessa texter en gång var ett svar på? Och vilka frågor de svarar på idag? Läst på detta sätt öppnar sig ”Familjen Vinge”: den syftar till att vrida och vända på de problem som stadens proletariat utsattes för. Det handlar om fabriksarbetets faror, arbetslöshet, lungsot, trångboddhet, alkoholism, prostitution och könssjukdomar. Agrell har vidare föreslagit att vi bör läsa böcker som ”Familjen Vinge” som en sorts andaktslitteratur. Andaktslitteraturen, skriver Agrell, gick ut på att läsarna skulle begrunda händelserna och på så sätt bli medvetna om Kristus i hans ställföreträdande lidande. Man skulle ”gömma det lästa i sitt inre” så att man sedan kunde tillämpa det på sitt eget liv. Sandel, menar Agrell, använde sådana andaktstekniker fast hos henne var det ”arbetarklassen som var offret på kapitalets altare”. I ”Familjen Vinge” är det dottern Dina som på ett väldigt tydligt sätt får spela den rollen. Hon sliter ryggen av sig på spinneriet och dör i lungsot som hon fått i arbetet. När modern sedan ska begrava henne får hon sätta lakan, örngott och handdukar i pant för att klara kostnaderna. Det är en väldigt drabbande skildring och man måste vara ganska hårdhudad för att inte bli berörd av den. Och så var det ofta i andaktslitteraturen: man använde drastiska exempel.

 

I den modernistiska traditionen, fortsätter Agrell, så tänker man att estetiken har ett egenvärde, frikopplat från varje bruksfunktion. Och det här är en kungstanke än idag: litteraturens värde är meta-litteraturen. Den arbetarlitteratur som Sandel och hennes kollegor skrev går ut på att reflektionen sker utanför konsten. Det estetiska var så att säga inte texternas värde, utan snarare det klassmedvetande de var tänkta att väcka. Här ska dock tilläggas att detta inte betyder att Sandel ansåg att det konstnärliga elementet var oväsentligt. Men det är alltid underordnat en funktion.

 

Vi är väldigt ovana vid att läsa på det här sättet – det är svårt. Men om vi ska se Sandel som något annat än en föråldrad författare så måste vi göra det. Samtidigt är det viktigt att se att Sandel inte alls var så främmande för modernistiska grepp som det har påståtts. I ”Familjen Vinge” finns det tydliga expressionistiska drag i beskrivningarna av folklivet i arbetarkvarteren. Vimlet på de små gatustumparna, arbeterskorna med tvättkaren och deras tjatter för tankarna till andra samtida expressionister, exempelvis Alfred Döblin. Senare i hennes produktion, i ”Droppar i folkhavet” är stora delar av berättelsen skriven med modernistiska förtecken. Jag menar, till skillnad från Agrell, att vi måste kunna se båda dessa saker samtidigt. Att höglitterära och populärkulturella grepp kan löpa som två parallella källådror. Men utan att glömma att estetiken aldrig är ett ändamål i sig för Sandel – att hon hela tiden skriver det vi idag kallar ”genrelitteratur”.

 

Här närmar vi oss kärnan i min argumentation. Den kan i korthet uttryckas som att högt och lågt alltid varit kommunicerande kärl inom arbetarlitteraturen. Å ena sidan viljan att nå ut till arbetarna, att utnyttja samtidens populära former för att agitera. Å andra sidan insikten om att arbetare kan ta till sig avancerad kultur. På så sätt har arbetarförfattarna skapat en litteratur bortom det Huyssen kallar ”The Great Divide”. På 1910-talet använde sig proletärförfattarna av modernistiska metoder utan att för den skull släppa sin tids populärlitterära former. Under 1930-talet skrev dem fram en sorts ”mjuk” modernism där formexperimenten – i till exempel ”Godnatt jord” och ”Romanen om Olof” – aldrig syftade till att stänga ute någon. Och så fortsätter det via 1970-talets experimentella men storsäljande rapportböcker fram till Susanna Alakoskis och Åsa Linderborgs folkhemsromaner. Genom hela 1900-talet kan vi se hur arbetarlitteraturen stått med en fot i det finlitterära, experimentella lägret och en i det populärkulturella, masslitterära.

 

Högt och lågt i arbetarlitteraturen

Hur kommer det sig då att högt och lågt aldrig blivit noggrant studerade inom arbetarlitteraturforskningen? En förklaring är nog att arbetarförfattarna redan på 1930-talet blev accepterade i den borgerliga offentligheten. På kultursidorna kunde konservativa skribenter som Sven Stolpe och skönandar som Olof Lagercrantz lyfta upp arbetarlitterära författarskap. Proletärförfattarna publicerades dessutom mestadels på de stora förlagen istället för rörelsens egna. Tyvärr har detta gjort att mycket arbetarlitteratur lästs enbart med estetiska glasögon, som en sorts ”finlitteratur”. Vad man har brukat för former för att ”nå ut” har rönt mindre intresse.

 

Idag befinner vi oss mitt i en arbetarlitterär guldålder. Arbetarförfattare som Susana Alakoski, Åsa Linderborg och Kristian Lundberg har vunnit stort erkännande, både inom och utanför den borgerliga offentligheten. Parallellt med detta pågår en populärkulturell guldålder där science fiction-, skräck och fantasy vinner allt större läsargrupper. På kultursidorna diskuteras såväl ny ungdomsskräck som språkmaterialistisk poesi med samma allvar, kriminalserier som ”The Wire” och ”Sopranos” hyllas som mästerverk. Samtidigt lever – som vi såg i inledningen – de gamla tankemodellerna kvar, parallellt.

 

Jag menar att arbetarlitteraturen idag skulle tjäna på att undersökas med de glasögon som Agrell har tagit fram. Hur viljan att kommunicera genom populära former än idag är en viktig aspekt i många arbetarlitterära författarskap. På så sätt kunde vi till exempel få syn på varför arbetarförfattare under 1990-talet började skriva deckare. Eller varför så många proletärförfattare genom historien sökt sig till science fiction-genren. Med dessa glasögon skulle vi också kunna undersöka varför samtida arbetarförfattare ofta utnyttjar melodramen för att skapa medvetenhet om arbetsrättsliga frågor. Arbetarlitteraturen har varken varit rädd för det höga eller det låga. Det är en stor kvalitet i sig.

 

Slutligen vill jag lägga in en liten brasklapp. Att problematisera föreställningar om högt och lågt är inte synonymt med att påstå att ”anything goes”. Det betyder inte att man förnekar problematiska drag i den samtida populärkulturen eller arbetarlitteraturen. Snarare handlar det om att göra sig en mera nyanserad bild av vad litteratur kan vara. Att man kan se att en genrebunden science fiction-roman ibland kan vara mera ”avancerad” än en slentrianmässigt skriven modernistisk diktsamling. Eller att en arbetarlitterär poets användning av vardagsspråk inte per automatik gör den estetiskt underlägsen så kallad ”experimentell poesi”.

Ur KLASS nr 4-2017

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